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Post by donr on Jan 24, 2023 20:31:24 GMT -6
I like to print FX, especially when the song is going to rely on echo tempos, etc. I just have to be mindful that the FX level will come forward with mix and mastering compression.
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Post by donr on Jan 24, 2023 12:29:09 GMT -6
The stereo functionality on the Sphere seems cool. I like the idea that you can manipulate it after the fact. It would be cool to see more mics like that. That said, the modeling doesn't much appeal to me, if for no other reason than that I don't see how you accurately model the off axis response of all of those various mics. General tonality? Sure, I suppose that's kind of doable, but a fig 8 mics is going to have a way different null and off axis pickup (or lack thereof) than a cardioid mic. The off axis modeling is why Sphere went with a stereo mic. In intended use, it's front/back address, not left/right, and you wind up with a mono track. You can also use it as a regular stereo mic.
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Post by donr on Jan 24, 2023 12:18:31 GMT -6
As long as computers are powerful, there's no downside to keeping millions of low play bedroom artists' music on streaming services. The average consumer/subscriber will never know it's there, and the artist and their friends and family can listen to their hearts content. It's not like the data storage, search or book keeping is a problem, is it?
The streamers do promote some artists over others. Apple Music is particularly annoying in that regard. I find Spotify's curation and suggestions for me better, but it's always someone signed to a label, in my experience.
It would be useful for a chart or playlist of completely unknown artists the curious could sample easily, but given the millions, how could Spotify possibly rank or keep up with that? I wonder if AI could possibly suss out really good music from millions of submissions. Couldn't hire enough humans, betcha.
In reality, nearly every piece of recorded music you've ever liked only reached your ears due to some kind of promotion.
And nobody makes money streaming until the plays are seven digits.
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Post by donr on Jan 24, 2023 11:28:15 GMT -6
I've got one. Sounds fine. I don't use it much, but then I don't use my Chandler REDD, or any of my mics that much either. For vocals lately it's the STAM 47. I'm thinking of buying an SM7. Seriously.
The Sphere software is useful as a tonal option after the fact. If Sphere absolutely nailed all the emulations, we'd all have one, wouldn't we? I haven't yet used it outside UA's sharc hardware.
The Stereo capability is a significant plus. It's a quality product.
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Post by donr on Jan 21, 2023 15:33:42 GMT -6
I vaguely recall reading somewhere, about a studio control room with a producer's desk that had a knob on it that the producer could twist, to get more of whatever he wanted more of in a mix. Did I imagine that?
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Post by donr on Jan 20, 2023 12:11:03 GMT -6
It depends on the producer I suppose. BOC came very close to working with Mutt Lange after our "Spectres" LP. He wanted to do it, but the scheduling didn't work out, unfortunately. I would have jumped at the opportunity for the band to be man-handled by Mutt. Would have changed our lives, most likely! Kind of what I mean though, you *wanted* it. The band I mentioned were all young (barely adults). I think it was more of a rebellious/ego thing to say that they had a hard time. I believe it was a "you're working with a producer if you want us(the label) to put out your record" kind of deal, and as we all know, a handful of young men can never be "wrong" on anything! They thought that the producer was just watering down their art, etc.. Either way, I don't think the album got any promotion and they broke up soon after. I mean, I'm not *producer* in the sense that I help write songs. I occasionally get asked about my opinion, and my ideas are frequently shot down by those who favor their own ideas most. When we started out, we were happy to take direction from the professionals, because we had no freakin' idea how to get our song performance onto a disk and come out of tiny speakers sounding any good. We did have our own ideas about arrangements, and were grateful to Columbia for the latitude they gave us.
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Post by donr on Jan 20, 2023 11:50:58 GMT -6
I've heard folks describe Mr. Rubin as someone who just happens to be present when great music happens and records are made. Sort of like an accidental musical tourist. Or an accidental musical taurus (since he was born March 10th) Really depends on who the artist is mentally. I know a band who HATED working with a very well known producer that we all know the name of. They claim that the result was a man-handled mess that wasn't anything like they wanted and felt taken advantage of as a young band. Other folks I know who've worked with him say he's a great guy and easy to work with. It depends on the producer I suppose. BOC came very close to working with Mutt Lange after our "Spectres" LP. He wanted to do it, but the scheduling didn't work out, unfortunately. I would have jumped at the opportunity for the band to be man-handled by Mutt. Would have changed our lives, most likely!
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Post by donr on Jan 20, 2023 11:04:59 GMT -6
Crosby was great from the Byrds on. The icons of the golden age of rock/pop are falling away. : (
Lucky there's quality audio and video that survives them, and shall remain as benchmarks.
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Post by donr on Jan 17, 2023 14:59:12 GMT -6
Does GPU cores and performance have ANY application for DAW use? Seems like DAWs only use the basic CPU power and core multiple for the job, unless I'm mistaken.
Wasn't there a DAW once that utilized nVidia GPU's to do plugin computations?
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Post by donr on Jan 16, 2023 13:40:28 GMT -6
Pullin' and prayin' for you Josh. Good knowing you and all the folks here.
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Post by donr on Jan 16, 2023 13:00:15 GMT -6
I'm embarrassed and humiliated to admit I've got one of these and I like it fine. It's VCA I believe. I went through two TC Level Pilots before getting it. Great features, and to my 5 decade Marshall ravaged ears, sounds crisp and clean. Better than the passive TC. It does monitor volume duties only, and switching between three analog inputs and two sets of powered monitors and two headphone outputs. I take Dan's point about Behringer stuff. I can clearly hear the inferior sound of a Behringer X32 console compared any other stage monitor console. But this piece sounds fine to me. A big plus is the compact form and the volume pot and the relay switches on the front side instead of the top of the chassis. I don't want to lean over a controller to ride the monitor pot or inputs. Jacks and cables are on the back almost out of sight. It's hefty, if that's important. Maybe there's a brick inside. For a pro studio, it might not inspire client confidence, but for me it works.
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Post by donr on Jan 1, 2023 9:29:47 GMT -6
JK, what's the config of your Mac Studio M1? I'll likely get one soon, the old MacPro trashcan video card is failing again. I'm thinking M1 Max w/64gigs ram.
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Post by donr on Nov 25, 2022 16:33:23 GMT -6
I like CLA Bass as a start for bass guitar and CLA mix, just kissing it on the 2-bus.
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Post by donr on Oct 24, 2022 15:50:10 GMT -6
Cool. Love the Seasons. Might that have been a "video" rather than the actual tracking session? It'd be rare to have everyone playing and singing in real time, even then. I don't know any info on it, it just looks like they made a video playing along to the recording. I'm reminded of a video I saw of a young gal singing her lungs out into the wrong side of a Shure 55 "Elvis" mic. BOC's vocals were almost all U87's, some 67, and "Reaper," according to Shelly Yakus was a U47. I can't remember, I was just trying to sing the song.
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Post by donr on Oct 3, 2022 21:47:03 GMT -6
Kudos to Warren and his production team here. They crisply edited down the raw video and made me sound like I was more direct and responsive than it went down in real time, with the emphasis on audio rather than video. A fine example of pro level Youtube content creation, in my estimation.
We actually talked for well over an hour, much of it banter. Made the content better.
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Post by donr on Oct 3, 2022 16:53:59 GMT -6
I guess he still owns Steven Slate Audio, so he can still make hardware and software under his name.
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Post by donr on Oct 3, 2022 16:50:05 GMT -6
I did an interview with Warren Huart, it came out a few days ago. An overview and history of Blue Oyster Cult from a Buck-centric perspective. Some insight into donr as well.
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Post by donr on Oct 3, 2022 16:25:27 GMT -6
I use a 50" curved 4k Samsung about 4 ft. back from my chair. I can't run it at 4k resolution though. Text and windows are too small. I have to lower the resolution until it looks like a computer monitor would at normal distance. Only downside is my TV has some HDMI latency, even on the gamer setting, compared to computer monitors. Once aware of it, can be dealt with.
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Post by donr on Oct 3, 2022 13:55:14 GMT -6
I repeat my endorsement of Slate's VSX headphone and software. It's useful and pleasurable.
As an old timer, I would love it if Slate would offer some beloved and historic hi-fi speakers I might choose to listen for pleasure on. Like Acoustic Research AR-3a, KLH 6, Advent, JBL L100, Klipsch, Quad ESL, Magnapan, even Lafayette Criterion. Since Slate's process (I assume it's some kind of impulse response) includes the room, I think you'd get a good sense of every speaker's personality, like you do with the choices you get with VSX now.
Certainly guitar cabinet/speaker IR's have just about taken over electric guitar recording, at least for me, at home. They're that good.
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Post by donr on Oct 3, 2022 10:52:44 GMT -6
Just got this email.
>>As a valued Slate Digital member, we wanted to let you know that as of today, Slate Digital has joined the Audiotonix family. If you are not aware, Audiotonix owns many great pro audio brands including Solid State Logic, Allen & Heath, DiGiCo, DiGiGrid, Calrec, Sound Devices and KLANG:technologies.
What does this mean for the future? Well, our main goal at Audiotonix is to help expand the All Access Pass with some exciting new production tools and instruments, and to aid new innovation with shared expertise and knowledge from our sister brands. It’s a new chapter for Slate Digital, and we are immensely proud to be working with such an amazing team and their customers. <<
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Post by donr on Aug 13, 2022 22:42:37 GMT -6
Even then, it's just plain STUPID! With prices as insane as they are and the fact that recording gear associated with an artist taking on the memorabilia market I’m kicking my self for not grabbing 2 pieces. 1. Butch Vigs / Smarts original TAC Scorpion that the first Nirvana Demos were tracked on. 2. The original Cheap Trick Hill live board, yes it was a total piece of crap strangest EQ ever but in 92 I could have had it for $200. On either of these I could have had them and documentation to prove providence. Would someone be interested in a Korg tape echo I toured the world with in my band's arena days? Could you see it sitting behind glass in a Hard Rock Casino Hotel? I dunno.. I bid on a THD Univalve amp belonging to Stephen St. Croix because I wanted something of his. I lost the auction.
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Post by donr on Aug 13, 2022 22:29:47 GMT -6
Yeah John. Nice place you have here. Good folks. I'd hate to see anything happen to it. : )
Besides my own board I don't blab any other place on the internet. Not that I wouldn't, but I don't have the appetite for it. It's why I like this place.
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Post by donr on Aug 12, 2022 14:24:26 GMT -6
I know this has been covered, but I’m lazy. What are quality headphones to buy? I’ve used cheaper AKG’s and DT770’s…but man, you can’t get any sense of what comes through the monitors with these. I’m redoing my room and I’m down for two weeks. Just thinking about getting a nicer pair of headphones. Obviously so much of this comes down to taste. I like having a few different pairs to check on (Sennheiser HD6 Mix, Sennheiser HD600, AT M50) because they're all so different and yet good quality. If I can get a mix to work on all of those without driving me crazy, I know I'm in a good spot. I've been growing more curious about those Slate VSX headphones, though. Man, I haven't bought anything from Slate in a loooong time, but I've been hearing good things from people who have them. donr has a pair, I believe? I've been meaning to reply to this post. I love the Slate VSX phones/software. I use 'em all the time. I listen for pleasure on them. I don't get much use out of regular phones for mixing, save another reference for too much lows or highs. The VSX is IMO a successful binaural emulation of speakers in a space. I regularly check ongoing mixes on Amphion's, NS10's, ATC's, mono Auratone, Barefoot's, SONY boombox, Tesla S. It doesn't matter to me how close any sound to reality, the comparison between them is what reveals weakness in the mix. None of the offered environments sound much like my room, so it's useful. And quick. VSX also emulates a few famous headphones, which I don't find useful at all, except maybe the Apple earbuds, for reference. I'd recommend trying a pair and sending them back if it's not your thing. I like mine, and Slate has improved and expanded the software twice. I have owned Stax, Koss, AKG, Audio-Technica, Etymotic, Shure and more. I'd rather listen for pleasure through the VSX plugin. I like the Archon Studio Amphion's a lot, and the Archon room is intimate and sweet sounding on any of the three speakers there. Howie Weinberg's Mastering room sounds weird to me, as does the disco club space. I recommend demo'ing the VSX if you can.
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Post by donr on Aug 12, 2022 13:57:25 GMT -6
The Giles Martin Beatles re-mix is good if you'd like to hear Ringo's kick drum.
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Post by donr on Aug 10, 2022 20:32:22 GMT -6
I’m an old timer. I’m somewhat nostalgic for non-linearity. I miss the old days of playback systems (and the recording /distribution media preceding,) when you cranked where you were listening up until it started to distort, then backed it down slightly into the sweet spot. Then, viscerally enjoyed whatever spectral or amplitude non-linearities were on their way to your ears, from any source.
Now, if that could be coded into a plug-in, I’d pay dearly.
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